DOCSLIB.ORG

Bulletin – Spring 2020

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bulletin – Spring 2020 Adar / Nisan / Iyyar / Sivan 5780 Vol. 30, No. 3 Spring 2020 THE BULLETIN Congregation Agudas Israel 715 McKinnon Ave, Saskatoon S7H 2G2 (306) 343-7023 Fax: (306) 343-1244 Rabbi Claudio Jodorkovsky Website: www.agudasisrael.org President: Kevin Sharfe Holocaust Memorial 2020 Sunday, May 24th, 2020 1:30pm Venue: Persephone Theatre 100 Spadina Crescent E. Remai Arts Centre Admission: Free We are honoured to welcome our 2020 Holocaust Memorial Keynote Speaker, Mr. Alex Buckman This is an opportunity to hear first hand stories of survival and endurance. Alex was originally from Brussels, he was born October 31st, 1939. Ten months later the Nazis invaded Belgium. “Then everything changed for my family”, he said. Alex was just a few years old when he was hidden from the Nazis while his parents were transported to Auschwitz. He will explain how, for his protection, he was placed with different families, but that was dangerous because the Germans told anyone that helped Jewish people would be sent to concentration camps too! Alex will be 81 years old this coming October. He is president of the Child Survivor Group at the Vancouver Holocaust Education Centre and serves as Treasurer of the World Federation of Jewish Child Holocaust Survivors. 30th Annual Monday, May 4, 2020 Get your tickets at www.eventbrite.ca Ticket price: $225 The Silver Spoon Dinner, famous for bringing celebrity speakers to Saskatoon, is thrilled to announce this year’s special guest, Multi-Platinum Canadian Singer/Songwriter Serena Ryder This page is sponsored by Gladys Rose of Toronto Deadline for the next Bulletin is May 15, 2020 Returning to Israel by Alan Goluboff Returning to Israel Our Airbnb on Sheikin Street was the centre after a twelve year point from which we were able to expore a absence along with my very different city and country from 1971. wife, Linda who had Then we had a few dollars a week to explore. not been to Israel since Today, a coffee can barely be had for a few 1991 and son, Sam dollars. After dropping our bags we ventured and his girlfriend who have never been there out walking a block to be swallowed up by turned out to be quite the experience. Many the Carmel Market, the focal point of our time reasons brought us to Israel in Tel Aviv. We will rable than the last. the least of which was my and Alan and Linda dream of our daily Our first stop was in Caesarea, the first Linda’s desire to visit Kibbutz visits to buy fruit, capital of the Roman empire in Israel years Hulda where we met in 1971, a vegetables, juice, before it moved to Jerusalem. Turning off the lifetime ago. bread, cakes, candy multilane highway to Haifa one is instantly Coincidentally, a major meet- and coffee, upon re- taken back in time as you walk the ancient ing of world leaders was in the turning to Toronto ruins along the Mediterranean Sea. Anyone country when we arrived. To and dealing with the who has been to Israel knows ancient ruins be in Israel when the German and modern Israel stand by side or one President Steinmeyer spoke to Alan and Sam on top of the other. I had walked these world leaders during the fifth ruins on my own years ago but this time annual Holocaust Memorial Forum in support few more with a professional guide the place came of Israel and against anti-semitism and hatred months to life much more clearly. made me feel optimistic about our future as of winter Back in the van with my nephew Jake’s Jews. One can only hope his words will make ahead. wife, Jill at the wheel and her German a difference. Exploring speaking father riding shotgun and fol- The vibrancy and love of life I always as- the streets, lowing the GPS, we headed north to sociate with Israel did not disappoint me. The restaurants, Haifa. Fortunately, country continues to grow and develop in all museums Dov and our guide Shiri, the directions in the midst of a very challenging and Tel Aviv Alan sister of a friend I neighborhood. There is an energy that is pal- beaches one had worked with on pable from the moment you step off the plane. could easily enjoy everyday but Israel a film during my last The air, the smells, and the people speaking has so much more to offer. The same visit spoke German Hebrew all around me, I remember from my day we arrived our nephew, his wife along with English very first visit here either through memory or and her father from Berlin joined us. and Hebrew. We imagination. Driving into the centre of Tel We shared a two story apartment for were in good hands. Aviv I was quickly swallowed up by a robust the first eight days touring the country We were soon stand- and dynamic world like no other. with a personal guide for an intense ing high over the city five days before some of the family of Haifa, a jewel of a needed to return to Toronto and Berlin. city on the sea, looking down at the Baba’i This year Israel was experiencing it’s wet- Temple. The last time I stood there was with Quarterly test winter in memory. We were fortunate Linda and Dave Diament, my closest friend to miss the worst of it and regardless what at the time, 1972. weather came our way we all knew real winter Food was next on the agenda, so we drove was raging in Canada and Berlin. Each day down the mountain and back on the highway by Kaiti Hannah and each stop was more splendid and memo- north to Acre, the ancient Ottoman port for a continued on page 12 1. The Book of Esther is the one of the only biblical books to not mention who? 2. What does the word “Purim” mean? SHERWOOD 3. Who was the first wife of King Ahasuerus? GMC RV GMC 4. What are the four commandments for Purim? Medium Sales Heavy GMC Duty and Duty 5. What are the baskets of food people traditionally Trucks Service Trucks give one another for Purim called? 6. How many cups of wine do we drink at a seder? SASKATOON'S Free Shuttle Service Body Shop Pick-up and Delivery The Body Shop provides 7. What are the five species of grain that are ARTS & CONVENTION Free Loaners on all SGI or chametz? CENTRE 7:30 a.m. - 5:15 p.m. Retail Collision Claims 8. How long does Pesach last in the diaspora? How #35 22nd Street E. Saskatoon, SK long in Israel? Tickets: www.tcutickets.ca 9. In which liquid do we dip karpas during a seder? Website: www.tcuplace.com CHEVROLET 550 Brand Road • Saskatoon 10. Matzah must be made in how many minutes or less? Answers on page 11 (306) 975-7777 374-6330 • Toll Free 1-877-374-6330 This page is sponsored by Alan, Linda and Sam Goluboff of Toronto 2 Editorial FROM OUR CONGREGATIONAL FAMILY by Steven Goluboff The Mission Statement of Congregation Agudas Israel The Bulletin has Congregation Agudas Israel is a spiritual, religious, educational and social home committed to deepening the quality of Jewish life in Saskatoon and district. We are an evolving link in the historical traditions of been a major source of the Jewish people. We are a progressive, democratic and sensitive congregation responding to the widest communication with spectrum of Jewish thought and practice. our members over the Written at the 2002 Kallah by the members of Congregation Agudas Israel last thirty years. Now that we are only pub- MAZEL TOV AND CONGRATULATIONS TO: lishing every three months, I think the gaps Dr. Simonne Horwitz (D. Phil), an Associate Professor in the college’s for keeping our members up to date on im- Department of History, received the J.W. George Ivany Internationalization Award for Faculty on Feb. 7, during the third annual People Around the portant issues in the community are too long. World (PAW) conference at USask. The Board has on its agenda the creation of Dr. Alan Rosenberg who has been honoured with the inaugural a Communication Committee that would CRA Master Award for 2020 in recognition of his exemplary of course include The Bulletin. As both our career and accomplishments in the field of Rheumatology, encompassing President and Associate Editor alluded to in his outstanding service to patients, administrative service, excellence in their columns, we are going through signifi- rheumatology teaching and education, and research. cant changes. Unfortunately, our membership Allen Ponak who continues his work as a salary arbitrator for Major League has declined although we are delighted to Baseball and the Major League Baseball Players’ Association. welcome four new members in this issue of Prof. Emeritus Henry Woolf (LLD’01) whose work and career were celebrated The Bulletin. We have not developed an ef- by the Saskatchewan theatre community at a dedication event for fective system of outreach and follow up with the Henry Woolf Theatre in the Department of Drama. The new prospective members or a process to make it Henry Woolf Bursary in Drama was announced during this celebration. Established by the Department of Drama—and with the support of alumni easy and accessible to join the Congregation. and friends like you, this bursary will provide financial assistance to students Our Website has been a go-to for prospective majoring in drama. Please consider making a donation, in honour of Henry members and probably needs a serious review Woolf, that will give our students an extra boost by easing their financial of its content.
Load more

Recommended publications
  • Theatre Archive Project: Interview with Susan Engel
    THEATRE ARCHIVE PROJECT http://sounds.bl.uk Susan Engel – interview transcript Interviewer: Jamie Andrews 17 October 2007 Actress; Pinter's The Room. Audience; Bristol University Drama Department; Samuel Beckett; characterisation; DramSoc; drama school; Harold Hobson; production; props; Harold Pinter; reviews; the script; Raphael Shelly; Jimmy Wax. Read other interviews about the first production of Harold Pinter's The Room here. JA: It’s 17th October, we’re at the house of Susan Engel in North London, and we’re conducting an interview for the Theatre Archive Project relating to the production of The Room. My name’s Jamie Andrews… SE: How do you do, my name’s Susie Engel. JA: Thank you very much for agreeing to be interviewed. SE: It’s a pleasure. JA: So as we discussed we’re going to start by talking about autumn 1956, that’s the start of the academic year in which The Room was produced. Can you just explain what you were doing at Bristol? SE: I was doing French and drama. That was my excuse for not going straight into the theatre, because I was really interested only in acting. But I was doing French and drama, and we did French plays as well. And I was a member of what was called DramSoc at the university. I don’t know if it’s still called DramSoc, the drama…? JA: Yes, yes. SE: Is it still called DramSoc? JA: Is that different from the Green Room? http://sounds.bl.uk Page 1 of 17 Theatre Archive Project SE: Yes, I can’t remember a Green Room.
    [Show full text]
  • Sexual Identity in Harold Pinter's Betrayal
    Table of Contents Introduction: …………………………………………………………………………………..1 The Question of Identity in Harold Pinter’s Drama Chapter One:………………………………………………………………………………….26 Strong Arm Her: Gendered Identity in Harold Pinter’s A Kind of Alaska (1982) Chapter Two:…………………………………………………………………………………79 The Indelible Memory: Memorial Identity in Harold Pinter’s Ashes to Ashes (1996) Chapter Three:……………………………………………………………………………..129 Eroded Rhetoric: Linguistic Identity in Harold Pinter’s One for the Road (1984) and Mountain Language (1988) Chapter Four: ……………………………………………………………………………….188 Chic Dictatorship: Power and Political Identity in Harold Pinter’s Party Time (1991) Chapter Five:…………………………………………………………………………………240 The Ethic and Aesthetic of Existence: Sexual Identity in Harold Pinter’s Betrayal (1978) Chapter Six:…………………………………………………………………………………..294 Crumbling Families: Familial and Marital Identity in Harold Pinter’s Celebration (2000) Conclusion:……………………………………………………………………………………350 Bibliography:…………………………………………………………………………………359 I II Acknowledgment I would like to express my special thanks and appreciation to my principal supervisor Dr. Christian M. Billing, who has shown the attitude and the substance of a genius. He continually and persuasively conveyed a spirit of adventure in questioning everything and leaving no stone unturned. You have been a tremendous mentor for me. I would like to thank you for your incessant encouragement, support, invaluable advice, and patience without which the completion of this work would have been impossible. Thank you for allowing me to grow as a researcher. Your advice on both research as well as my career have been priceless. I would also like to thank Dr. K.S. Morgan McKean without which this work would not have been completed on time. A special thanks to my family. Words cannot express how grateful I’m to my sweet and loving parents Mandy Khaleel & Hasan Ali who did not spare the least effort to support me throughout my study.
    [Show full text]
  • ANDREW GOSLING 26Th October 1944
    ! " ANDREW GOSLING" 26th October 1944 - 11th May 2016" A PERSONAL APPRECIATION OF HIS LIFE BY IAN KEILL" I first met Andrew Gosling in 1970 when he edited a less than reverential film I made about William Wordsworth for “Late Night Line-Up”. After that he collaborated with me on many productions - first as film editor, then as director - for over twenty-five years. We became a sort of Ant-and- Dec-Behind-the-Camera." He was a man of great talent and enormous charm. Someone who could be relied on to come up with the goods with the least amount of fuss. In all the time I worked with him we rarely had a disagreement. It was a very happy and fruitful partnership." Andrew was educated at Eton - a fact that he played down all his life. He never used his school- ing as a stepping stone to anything … he made his way in life the way he wanted. Simply. Gen- tly. However, during his time at Eton he directed a stage production of T. S. Elliot’s “Murder in the Cathedral”. This was well received, and it resulted in him securing a place at the Oxford Play- house. There then followed work at the Century travelling theatre - an incredible set-up present- ing plays from a set of lumbering wagons trailing from town to town all over the North of England. Here he did anything and everything associated with being an ‘Assistant Stage Manager and Small Parts’." In the 1960s he decided to change course, and became a film editor at Associated Redi$usion.
    [Show full text]
  • Bulletin – Winter 2017/2018
    Kislev / Tevet / Shevat / Adar 5777 Vol. 28, No. 2 Winter 2017 / 2018 THE BULLETIN Congregation Agudas Israel 715 McKinnon Ave, Saskatoon S7H 2G2 (306) 343-7023 Fax: (306) 343-1244 Rabbi Claudio Jodorkovsky Website: www.agudasisrael.org President: Harold Shiffman HOW YOU CANIt’s CONTRIBUTE our 28th The Legacy Fund TAX BENEFITS Annual Every contribution to the CAI Legacy Project – Capital Fund Raising Campaign will be eligible for a charitable donation receipt from Congregation Agudas How high Israel. Congregation Agudas Israel is registered as a charity with the Canada Revenue Agency. Our registration number is 106967169 RR0001 . Here’s an example of how a contribution of $10,000 from a Saskatchewan resident will be treated for tax purposes: You make a donation of $10,000 in 2017 and you are a Saskatchewan resident; can we go! 1.The Federal charitable tax credit rate is 15% on the first $200 and 29% on the balance of the donation. Your Federal tax credit is therefore $2,872; $3 Million 2. The Saskatchewan charitable tax credit rateMonday, is 11% on the first $200 May and 15% on 7,the balance 2018 of the donation. Your provincial charitable tax credit is therefore $1,492. The Silver Spoon Dinner, famous for bringing celebrity Your net cost, after the tax saving, is actually only $5,636. This benefit is available for each and every year you make the donation in the event your donation is spread over a number of years. speakers to Saskatoon, is proud to present this year’s entertainment – Award-Winning Canadian Comedians….
    [Show full text]
  • Theatre Archive Project Archive
    University of Sheffield Library. Special Collections and Archives Ref: MS 349 Title: Theatre Archive Project: Archive Scope: A collection of interviews on CD-ROM with those visiting or working in the theatre between 1945 and 1968, created by the Theatre Archive Project (British Library and De Montfort University); also copies of some correspondence Dates: 1958-2008 Level: Fonds Extent: 3 boxes Name of creator: Theatre Archive Project Administrative / biographical history: Beginning in 2003, the Theatre Archive Project is a major reinvestigation of British theatre history between 1945 and 1968, from the perspectives of both the members of the audience and those working in the theatre at the time. It encompasses both the post-war theatre archives held by the British Library, and also their post-1968 scripts collection. In addition, many oral history interviews have been carried out with visitors and theatre practitioners. The Project began at the University of Sheffield and later transferred to De Montfort University. The archive at Sheffield contains 170 CD-ROMs of interviews with theatre workers and audience members, including Glenda Jackson, Brian Rix, Susan Engel and Michael Frayn. There is also a collection of copies of correspondence between Gyorgy Lengyel and Michel and Suria Saint Denis, and between Gyorgy Lengyel and Sir John Gielgud, dating from 1958 to 1999. Related collections: De Montfort University Library Source: Deposited by Theatre Archive Project staff, 2005-2009 System of arrangement: As received Subjects: Theatre Conditions of access: Available to all researchers, by appointment Restrictions: None Copyright: According to document Finding aids: Listed MS 349 THEATRE ARCHIVE PROJECT: ARCHIVE 349/1 Interviews on CD-ROM (Alphabetical listing) Interviewee Abstract Interviewer Date of Interview Disc no.
    [Show full text]
  • MONTY PYTHON at 50 , a Month-Long Season Celebra
    Tuesday 16 July 2019, London. The BFI today announces full details of IT’S… MONTY PYTHON AT 50, a month-long season celebrating Monty Python – their roots, influences and subsequent work both as a group, and as individuals. The season, which takes place from 1 September – 1 October at BFI Southbank, forms part of the 50th anniversary celebrations of the beloved comedy group, whose seminal series Monty Python’s Flying Circus first aired on 5th October 1969. The season will include all the Monty Python feature films; oddities and unseen curios from the depths of the BFI National Archive and from Michael Palin’s personal collection of super 8mm films; back-to-back screenings of the entire series of Monty Python’s Flying Circus in a unique big-screen outing; and screenings of post-Python TV (Fawlty Towers, Out of the Trees, Ripping Yarns) and films (Jabberwocky, A Fish Called Wanda, Time Bandits, Wind in the Willows and more). There will also be rare screenings of pre-Python shows At Last the 1948 Show and Do Not Adjust Your Set, both of which will be released on BFI DVD on Monday 16 September, and a free exhibition of Python-related material from the BFI National Archive and The Monty Python Archive, and a Python takeover in the BFI Shop. Reflecting on the legacy and approaching celebrations, the Pythons commented: “Python has survived because we live in an increasingly Pythonesque world. Extreme silliness seems more relevant now than it ever was.” IT’S… MONTY PYTHON AT 50 programmers Justin Johnson and Dick Fiddy said: “We are delighted to share what is undoubtedly one of the most absurd seasons ever presented by the BFI, but even more delighted that it has been put together with help from the Pythons themselves and marked with their golden stamp of silliness.
    [Show full text]
  • IN PERSON & PREVIEWS Talent Q&As and Rare Appearances
    IN PERSON & PREVIEWS Talent Q&As and rare appearances, plus a chance for you to catch the latest film and TV before anyone else TV Preview: World on Fire + Q&A with writer Peter Bowker plus cast TBA BBC-Mammoth Screen 2019. Lead dir Adam Smith. With Helen Hunt, Sean Bean, Lesley Manville, Jonah Hauer- King. Ep1 c.60min World on Fire is an adrenaline-fuelled, emotionally gripping and resonant drama, written by the award-winning Peter Bowker (The A Word, Marvellous). It charts the first year of World War Two, told through the intertwining fates of ordinary people from Britain, Poland, France, Germany and the United States as they grapple with the effect of the war on their everyday lives. Join us for a Q&A and preview of this new landmark series boasting a stellar cast, headed up by Helen Hunt and Sean Bean. TUE 3 SEP 18:15 NFT1 TV Preview: Temple + Q&A with writer Mark O’Rowe, exec producer Liza Marshall, actor Mark Strong, and further cast TBA Sky-Hera Pictures 2019. Dirs Luke Snellin, Shariff Korver, Lisa Siwe. With Mark Strong, Carice van Houten, Daniel Mays, Tobi King Bakare. Eps 1 and 2, 80min Temple tells the story of Daniel Milton (Strong), a talented surgeon whose world is turned upside down when his wife contracts a terminal illness. Yet Daniel refuses to accept the cards he’s been dealt. He partners with the obsessive, yet surprisingly resourceful, misfit Lee (Mays) to start a literal ‘underground’ clinic in the vast network of tunnels beneath Temple tube station in London.
    [Show full text]
  • PINTER on SCREEN: POWER, SEX & POLITICS (1 July – 31 August) – Curated by Harold Pinter Biographer and Theatre Critic for the Guardian Michael Billington
    Tuesday 19 June 2018, London. To mark the 10th anniversary of the death of one of the most important and influential British playwrights of the last century, HAROLD PINTER, BFI Southbank will host a special two month season – PINTER ON SCREEN: POWER, SEX & POLITICS (1 July – 31 August) – curated by Harold Pinter biographer and theatre critic for The Guardian Michael Billington. Best-known for his work as a playwright, PINTER ON SCREEN will celebrate his contribution to film and television, which was extremely significant, not only writing pioneering plays for television, but also for working on scripts for a varied range of landmark films like Joseph Losey’s The Servant (1963), The French Lieutenant’s Woman (Karel Reisz, 1981) starring Meryl Streep and Jeremy Irons, The Comfort of Strangers (Paul Schrader, 1990) and the 1990 adaptation of Margaret Atwood’s still all-too-relevant The Handmaid’s Tale (Volker Schlöndorff). “‘Truth in drama, is forever elusive. You never quite find it, but the search for it is compulsive.’ – Harold Pinter on receiving the Nobel Prize for Literature in 2005. On this statement, and on Pinter, season curator Michael Billington says: “That applies as much to his work for the screen as it does to the stage with which it shares many qualities: a fascination with the private roots of power, an abiding preoccupation with memory and the deceptiveness of language, a belief in the agency of women. Pinter, from his teenage years when he explored the work of Luis Buñuel, Marcel Carné and Jean Vigo, was always passionately in love with cinema and was proud that the majority of his screenplays were filmed.
    [Show full text]
  • 978–0–230–27845–5 Copyrighted Material
    Copyrighted material – 978–0–230–27845–5 © William Baker 2013 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6–10 Kirby Street, London EC1N 8TS. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author has asserted his right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2013 by PALGRAVE MACMILLAN Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan in the US is a division of St Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN 978–0–230–27845–5 This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. Logging, pulping and manufacturing processes are expected to conform to the environmental regulations of the country of origin. A catalogue record for this book is available from the British Library.
    [Show full text]
  • Theatre Archive Project: Interview with Julia Kellerman
    THEATRE ARCHIVE PROJECT http://sounds.bl.uk Julia Kellerman [Swan] – interview transcript Interviewer: Alec Patton 25 February 2008 Actress; Pinter's The Room. Audience; Bristol drama department; Dartington Hall; discussing the play; European theatre; foreign theatre festivals; Harold Hobson; Look Back in Anger; musical accompaniment; rented accommodation; set and background of the play; theatre going; Henry Woolf. Read other interviews about the first production of Harold Pinter's The Room here. AP: …interviewing Julia Kellerman for the Theatre Archive Project. Then this will… you know this is going to go up online once it’s all… once it’s been transcribed. You’re aware of all that? Just to… JK: Yes, yes. AP: Yes, excellent. So you were just saying about the… where it was performed first. JK: The very first performance was in the drama department’s studio at Bristol. AP: Yes. JK: And that was our own little theatre. It was very small and it was a former squash court that had been converted into a drama studio. We had a lighting technician who was there, more or less a full-time lighting technician. And there were about four other full-time members of staff. Iris Brooke for costumes, and the lecturers were divided into, say, the head of the department, Glynne Wickham specialised in medieval drama and Elizabethan. And then we also had people coming from the Bristol Old Vic School who used to take us for classes in movement, voice production… I’m sorry, my voice production’s not very good today; I’ve got a catch in my throat.
    [Show full text]
  • Study Guide For
    Study Guide for Written by Dominic Francis Edited by Rosie Dalling Rehearsal photography by Marc Brenner Production photography by Hugo Glendining This programme has been made possible by the generous support of Noel Coward Foundation and Universal Consolidated Group, The Mackintosh Foundation and the Harold Hyam Wingate Foundation 1 Contents Section 1 Cast and Creative Team Section 2 An introduction to Harold Pinter and his work Biography Harold Pinter’s schooldays MOONLIGHT Section 3 Inside the rehearsal room Resident Assistant Director Simon Evan’s rehearsal diary An interview with Simon Evans Section 4 MOONLIGHT in performance Practical exercises based on an extract from the beginning of the play Questions on the production and further practical work Section 5 Ideas for further study Reading and research Bibliography Endnotes 2 section 1 Cast and Creative Team Cast (in order of appearance) LISA DIVENEY DAVID BRADLEY DEBORAH DANIEL MAYS Bridget, a girl of Andy, a man FINDLAY Jake, a man of sixteen, a ghost, in his fifties, Bel, a woman twenty-eight, Andy Andy and Bel’s a retired civil of fifty, Andy’s and Bel’s eldest dead daughter. servant, bedbound long-suffering wife son. and dying of who sits at his an undisclosed bedside enduring terminal illness. his vindictive He waits in vain interrogation. for his estranged adult children to visit him. LIAM GARRIGAN CAROL ROYLE PAUL SHELLEY Fred, a man of Maria, a woman Ralph, a man in twenty-seven, of fifty, an old his fifties, Maria’s Andy and Bel’s friend of Bel’s husband, a former younger son.
    [Show full text]
  • Dissertation
    DISSERTATION Titel der Dissertation HAROLD PINTER IN GERMAN: WHAT'S LOST IN TRANSLATION? Verfasserin RENÉE VON PASCHEN, M.A. angestrebter akademischer Grad Doktorin der Philosophie (Dr. phil.) Wien, 2012 Studienkennzahl lt. Studienblatt: A 092 317 Dissertationsgebiet lt. Studienblatt: Theater-, Film- und Medienwissenschaft Betreuerin: Univ.-Prof. Dr. Brigitte Marschall 2 2 3 ABSTRACT 7 ZUSAMMENFASSUNG 9 FOREWORD 11 INTRODUCTION 12 1 HAROLD PINTER'S BACKGROUND AS A WRITER 16 1.1 HAROLD PINTER'S BIOGRAPHY 16 1.1.1 PINTER'S CHILDHOOD YEARS 17 1.1.2 PINTER'S ACTING AND DIRECTING CAREER 19 1.1.2.1 Pinter's Acting Career in the Theater ..............................................................................26 1.1.2.2 Pinter's Acting Career and Roles in Cinema...................................................................26 1.1.2.3 Television Films and Roles in Which Pinter Acted........................................................27 1.1.2.4 Radio Broadcasts in Which Pinter Played a Role ...........................................................28 1.1.2.5 Plays Pinter Directed on Stage........................................................................................28 1.1.2.6 Movies and Television Films Directed by Pinter............................................................29 1.1.3 PINTER'S POLITICAL ENGAGEMENT 30 1.1.4 PINTER'S OEUVRE AS A WRITER 35 1.1.4.1 Plays by Pinter.................................................................................................................35 1.1.4.2 Prose and Poetry by
    [Show full text]